T+IEPOMPEIA 


rCi"  SAR-ATOO  A" 
*W  SPRINGS 

AREPRODUCTION  OF  THE  HOUSEopRANS^v 
AT  POMPEII: BURIED  BY  VE5UV1U5. A.D..79. 

A  GRAND 

P0MPEIANH0U5E 

ILLUSTRATING  THE 

ARTARGHITECTURE. 

MYT+IOLOOY 
CUSTOMS 

ROMAN  EMPIRe. 
A»-!>°  A  PAINTING  50  PEET  BY  TEJ  ^''t^et 

AT  T>H£_JRUJMPH  OF  C0H5T-ANTIHE:.  A-D^Sia.*-©-* 

i" 1\  COPY 
OP  TM4E  WORK. 

BUHLTIANN 

AND 

WAGNER 

OF  MUNICH^ 
BY 

GERMAN^^FRENC-H 


Hh[\d  Booh  of 


REPRODVCl^P" 

or 

Roman  HousL'- 

lLLV5TRATlNCiTHE' 

Apt,Architectvre.Mytholo(4Y, 

AHD  CvSTO^Sof  tKeRoMAH  EmPIRE, , 


Go,  seek  Pompeii  now  ; — with  pensive  tread 
Roam  through  the  silent  city  of  the  dead, 
Explore  each  spot,  where  still,  in  ruin  grand. 
Her  shapeless  piles  and  towering  columns  stand, 
Where  the  pale  ivy's  clasping  wreaths  o'ershade 
The  ruined  temple's  moss-clad  colonnade, 
Or  violets  on  the  hearth's  cold  marble  wave, 
And  muse  in  silence  on  a  people'  grave. 


Now  shall  thy  deathless  memory  live  entwined 
With  all  that  conquers,  rules  or  charms  the  mind. 

— Macaulay. 


ADMISSIONS  TO  THE  POMPEIA. 


It  has  been  the  general  expression  among  thousands  who 
have  seen  the  Pompeia,  that  it  is  impossible  to  exhaust  its  interest 
upon  a  single  visit.  . 

The  extent  of  ground  plan ;   the  novelty  and  beauty  of 

ornamentation,  are  too  absorbing  upon  a  first  view  to  leave  time 

or  thought  for  study  of  the  many  details,  suggestive  of  Roman 
domestic  life  and  history. 

To  secure  therefore  the  practical  advantages  offered  by  this 
illustration  of  antiquity,  the  following  moderate  terms  of  admission 
are  established  : 

Single  Admission,      ~       ^       ~  50  Cents. 

Tickets  for  two  days  and  evenings,  -  $7.00 

*'      "  one  week,       -       -  -  7.50 

"  thie  season,  -      -  -  -3.00 

A  purchaser  of  a  Single  Admission  will  be  allowed  its  cost  in  exchangt 
for  a  Two-day  y  Weekly^  or  a  Season  ticket,  when  paid  for  during  the  first  visit 

Oopyriglited  1890,  by  PEANKLIN  W.  SMITH. 


200tli  THOUSA]«I>,  jrUXE,  1894. 


Press  of  E.  P.  Howe  &  Son,  Saratoga  Springs. 


Linmm 


OPINIONS  OF  THE  PRESS. 


From  "  New  York  Herald." 

MAGNIFICENT  POMPEIA."  —  "  GLORIES  OF  POMPEII  REPRODUCED 

AT  SARATOGA.^' 

*  *  *  *  Visitors  to  Saratoga  this  year  will  find  something  more  of 
interest  than  springs  and  colossal  hotels.  "The  Pompeia,"  recently  com- 
pleted, is  the  most  elaborate  reproduction  of  a  sumptuous  Pompeian  house 
ever  attempted,  fully  illustrating  the  domestic  life,  worship,  manners  and 
mythology  of  the  Romans.  *  *  *  *  The  most  elaborate  subjects  of  art 
and  architecture  found  in  the  buried  city  have  been  worked  into  a  harmoni- 
ous whole,  and  last  week  the  completed  structure  was  opened  as  a  replica  of 
a  patrician  Roman's  home,  in  size  and  elegance  as  complete  as  any  in  Pompeii 
when  overwhelmed  two  thousand  years  ago.  *  *  *  *  Ranging  through 
the  spacious  hall,  the  visitor  can  follow  in  detail  the  life  of  the  Roman  noble 
from  his  worship  before  the  Temple  of  Jove,  in  the  Forurii,  to  the  utensils  of 
his  kitchen,  or  his  pleasures  represented  by  a  carved  ivory  ticket  to  his  seat 
in  the  amphitheatre.  *  *  *  *  The  building  is  a  monument  that  will  take 
its  place  with  the  most  impressive  and  unique  contributions  to  the  art  of  this 
century." 

From  the  "Nev\^  York  Home  Journal." 
"AUSPICIOUS  OPENING." 

The  splendid  Pompeian  villa  is  now  open  and  on  exhibition. 

*  >ic  *  *  *  *  *  *  *  *■ 

It  will  lend  peculiar  interest  to  this  house  to  know  that  in  it  we  see  the 
usual  Roman  habitations  in  the  time  of  Christ,  and  that  the  plan  conforms 
closely  to  the  prescribed  proportions  of  Yitruvius,  the  architect,  whose 
authoritative  work  has  come  down  to  us.  The  exterior  is  painted  in  Pompeian 
colors,  which  with  the  roof-garden  above,  luxuriant  in  greenery,  clinging 
vines,  and  flowers,  excites  curiosity  and  imagination,  both  of  which  are  grati- 
fied by  the  exceeding  strangeness  and  beauty  within  the  walls. 

"  New  York  Times." 
"The  much  talked-of  Pompeian  House  was  thrown  open  last  night  to  a 
crowd  of  sight-seers. .    Enough  exquisite  work  is  displayed  to  warrant  the 
assertion  that  Saratoga's  replica  of  the  departed  glories  of  Pompeii  is  likely  to 
become  famous  throughout  the  country." 

From  the  "Albany  Press." 
*  *  *  *  The  whole  house  is  the  acme  of  elegance,  everything  is 
executed  in  the  most  artistic  manner.  Such  taste  and  elegance  has  not  been 
before  displayed  upon  Pompeia  art  and  the  American  reproduction  of  the 
"  House  of  Pansa,"  will  fill  one  of  the  most  important  places  in  the  art  of  the 
new  world. 

From  "Harper's  Bazaar." 
It  is  a  museum  where  the  splendid  decorative  art  of  the  first  century  could 
be  studied,  and  where  the  environment  of  the  great  Roman  nobles  could  be 
illustrated  from  the  lares  and  penates  to  the  utensils  of  the  kitchen. 


THIS   BOOK,   16   PAGES,  FREE. 

The  Full  Handbook,  9  Illustrations,  48  Pages,  10  Cents 


It  is  conceded  by  all  travelers  that  this  unique  city  is  the  most 
interesting  and  impressive  sight  in  all  Europe.  It  combines  with  the 
charm  of  antiquity,  the  most  interesting  volcanic  phenomenon  the 
world  has  known.  All  are  in  a  measure  familiar  with  the  terrible  fate 
of  Pompeii ;  its  complete  oblivion  for  nearly  two  thousand  years,  and  a 
resurrection  which  has  given  this  Roman  city  a  power  to  interest,  un- 
equalled even  by  the  Imperial  capital. 

From  the  numerous  private  houses  now  excavated  in  Pompeii,  the 
"House  of  Pansa"  was  selected  as  a  model,  from  being  the  most  ex- 
tensive and  most  perfect  in  plan,  and  consequently  the  best  known. 
In  proportion  and  arrangement,  this  reproduction  is  nearly  indentical. 

The  Plan  of  the  Pompeian  House. 

The  arrangement  of  the  houses  of  Pompeii  was  generally  upon  the 
plan  of  all  Roman  houses  of  the  period,  and  conformed  closely  to  the 
prescribed  proportions  of  Vitruvius,  the  architect  whose  authoritative 
work  has  come  down  to  us.  It  therefore  lends  an  additional  interest 
to  the  Pompeian  house,  that  in  it  we  see  the  usual  Roman  habitations 
in  the  time  of  Christ. . 

The  facade  is  as  precisely  as  possible  a  counterpart  of  Pompeian 
domestic  architecture.  This  will  be  readily  recognized  by  examination 
of  the  copious  details  of  the  ruins  upon  the  walls  of  the  Gallery  for 
Illustrations.  The  doors  are  an  accurate  reproduction  from  the  casts 
in  the  Museum  at  Pompeii ;  detailed  drawings  of  which  were  supplied 
by  Prof.  Fischetti.  These  casts  were  made  by  pouring  plaster  into 
cavities  left  in  the  scoria,  where  the  doors  had  left  their  imprint  be- 
fore decay.  By  the  same  process,  skeletons  have  been  re-embodied  in 
plaster  and  are  now  exhibited  at  Naples,  revealing  the  agony  of  death. 


THE  POMPEIAN  HOUSE 


5 


No.  1.  The  Vestibule  —  Opens  outwardly  upon  the  street,  and  in- 
wardly upon  the  Atrium,  or  hall.  The  first  object  which  greets  the 
eye  is  a  fierce  dog  in  the  act  of  springing  upon  the  visitor.  This  device, 
in  Mosaic,  was  common  to  the  larger  houses,  and  indicates  that  it  was 
a  reminder  of  a  dangerous  dog  within ;  quite  necessary  where  houses 
stood  so  invitingly  open.  Beneath  is  written  the  warning  "Cave 
Canem,"  (beware  of  the  dog. ) 
•  In  the  vestibule  are  brackets  with  four  busts  called  ' '  The  Great  and 

good.  "  This  was  a  custom  not  only  in  Pompeii,  but  Rome ;  by  which 
Socrates,  Plato,  Cicero,  Homer  and  others,  were  installed  as  exemplars. 
' '  Salve  "  ( welcome )  greets  the  visitor  from  the  pavement  as  he  enters. 

No.  2,  3.  The  small  rooms  at  the  side  of  the  vestibule  were  occupied 
by  porters,  who  not  unfrequently  were  chained  slaves. 

No.  4.  Taberna  or  shop.  The  house  of  Pansa  occupied  an  entire 
Insula  or  block ;  and  was  surrounded  by  small  shops.  The  Roman 
nobles,  like  modern  Italian  proprietors,  thus  disposed  of  their  farm 
products. 

Here  photographs^  reproductions  of  lamps,  etc.,  may  be  purchased  as 
souvenirs. 

No.  5.  The  Atrium  was  an  imposing  hall,  where  the  master  of  the 
house  received  all  who  were  not  admitted  to  the  inner  apartments.  In 
the  center  of  the  roof  is  seen  the  Compluvium  ( with  a  sacrificial  cornice 
of  festoons  and  skulls  of  bulls  ),  toward  which  the  roof  sloped  in  order 
to  throw  the  rainwater  into  the  Impluvium  ;  a  marble  pool  in  the  floor, 
where  the  fountain  throws  its  cooling  spray  into  the  air  —  the  bottom 
painted  as  the  reflection  of  the  sky  above.  At  the  corners  of  the 
Compluvium  roof,  are  the  lion's  heads  through  which  spouts  carried 
the  water  into  the  pool,  whence  they  passed  into  other  cisterns,  to  be 
used  for  household  purposes.  The  ceiling  of  this  Atrium  is  decorated 
with  copies  of  the  famous  Mosaics  from  the  Villa  of  Diomede,  exhibited 
in  the  National  Museum  at  Naples.  A  general  view  suggests  a  collec- 
tion of  orchids. 

The  "Muses  "upon  pedestals  are :  Terpsichore,  Dancing;  Polyhymnia, 
Religion ;  Erato,  Poetry ;  Clio,  History ;  Euterpe,  Lyric  Poetry ;  Calliope, 
Science. 

Tables,  chairs,  couches,  musical  instruments,  tripods,  candelabra, 
and  all  other  furniture  have  been  reproduced  from  originals  preserved 


6 


THE  POMPEIAN  HOUSE 


in  the  Naples  Museum  or  from  wall  pictures  found  in  Pompeii  and  Her- 
culaneum  and  models  in  the  Naples  Museum.  The  lamps  also  are 
modelled  from  one  of  the  richest  patterns  in  the  great  work  on  antiqui- 
ties of  Herculaneum. 

No.  6,  7.  Are  Cubicula  (bedrooms ).  These  Cubicula  are  the  exact 
size  of  those  in  the  stately  House  of  Pansa.  Specially  noticeable  is  the 
bed  made  after  the  bronze  original  exhumed  in  Pompeii,  with  its  ex- 
quisite modelling.  The  chair  of  the  Muses  will  be  recognized  as 
familiar  in  ancient  G-reek  bas-relief. 

No.  8.  Al^  or  wings,  on  either  side  of  the  Tablionum,  were  recesses 
used  for  rest,  or  conversation.  The  ceilings  are  precise  in  size  and 
color  from  the  richest  specimen  published  by  Nicollini,  in  the  most 
superb  work  yet  issued  upon  Pompeian  relics  and  art.  The  head  of 
Achilles  is  a  well-executed  copy  from  the  great  Homeric  painting 
found  in  the  "  House  of  the  Tragic  Poet,  "  and  founded  upon  scenes  in 
the  "Iliad.  "  The  illustrious  Greek  warrior  is  looking  at  his  enemies 
bearing  away  his  beloved  handmaiden,  Briseis;  his  eyes  glowing  with 
indignation,  and  his  brow  contracted  with  suppressed  emotion.  The 
face  so  full  of  fire,  and  animated  with  a  divinity  difficult  to  express, 
has  given  the  "Head  of  Achilles  "  the  reputation  of  the  finest  youthful 
head  left  in  ancient  color. 

No.  9.  From  the  Atrium  again,  we  turn  to  the  right  into  the  Fauces 
(the  jaws),  a  narrow  passage  which  obviated  passing  through  the 
Tablinum  to  inner  apartments.    The  principal  of  these  is 

No.  10.  The  Tablinum,  a  central  apartment,  entered  from  the  center 
of  the  Atrium.  This  was  the  private  retreat  of  the  master  of  the  house ; 
his  Sanctum,  where,  in  cabinets,  were  kept  busts  of  ancestors,  family 
archives,  and  genealogical  tables,  the  latter  giving  the  name  to  the 
room.  The  ceiling  of  this  room  is  from  a  remarkably  well-preserved 
house  excavated  in  1865.  The  cabinets  are  supplied  with  fao  similes 
of  ancient  papyrus  manuscripts  and  rolls  of  Latin,  simulating  accur- 
ately the  books  of  the  Pompeians.  The  busts  are  in  part  to  illustrate 
kindred ;  and  therefore  are  not  all  contemporaneous. 

The  "Strong  Box"  is  a  precise  copy  of  one  in  the  Museum  at  Naples; 
as  may  be  recognized  from  the  plate  therewith  of  Signer  Monaco. 

It  will  be  seen  from  the  various  copies  of  mural  paintings  found  in 
Pompeii  that  draperies  were  used,  both  at  doors  and  windows,  al- 


REPRODUCED  IN  SARATOGA 


7 


though  no  such  textiles  could,  of  course,  have  survived  the  destruction, 
even  in  carbonization. 

No.  11.  The  Peristylium  a  court  or  hall  still  larger  than  the  Atrium, 
with  twelve  columns  inclosing  a  space  called  the  Viridarium  with  Pan 
and  a  Satyr  among  the  verdure.  Above  was  another  opening  admitting 
air  and  light.  Here  were  given  private  entertainmants,  when  the 
colonnade  was  festooned  with  garlands  of  roses  and  was  gay  with  birds 
of  gorgeous  plumage.  Here  beneath  subdued  lights  moved  those 
stately  men  and  women,  in  their  classic  robes,  while  music  from  flute 
and  lyre  stole  upon  the  ear  from  slaves  concealed  above.  It  is  here 
that  Sir  Bulwer  Lytton  depicts  the  meetings  of  the  beautiful  lone  with 
Glaucus  and  Arbaces  in  the  "Last  Days  of  Pompeii." 

The  ceiling  of  the  Peristyle  is  copied  from  the  Baths  of  Titus.  Few 
ceilings  escaped  destruction  in  the  falling  of  burning  rafters  during  the 
catastrophe.  On  the  right  of  the  Peristyle  at  the  end  of  the  Fauces  is 

No.  12.   A  CuBicuLUM  larger  than  those  upon  the  Atrium. 

No.  13.  The  Bibliotheca,  or  library,  was  never  necessarily  very 
large,  as  literature  in  those  days  was  not  voluminous.  The  rolls,  or 
manuscripts,  however,  were  not  compact,  like  modern  books.  They 
were  made  of  papyrus  or  parchment,  and  written  in  ink,  intended  to  be 
easily  washed  off.  There  was  a  ticket  fastened  to  one  end,  designating 
the  subject,  and  the  books  were  frequently  kept  rolled  up  in  boxes 
( ScRiNiA )  with  tickets  uppermost.  These  books  when  found  were  at 
first  supposed  to  be  charred  sticks  of  wood,  but  some  have  been  sec- 
cessfully  unrolled  by  painstaking  efforts  of  scientists. 

A  case  in  this  room  contains  a  collection  of  fine  lamps,  the  foot 
lamp,  illustrating  the  text  "Thy  word  is  a  lamp  unto  my  feet  and  a 
light  unto  my  path."  Reproductions  of  this  lamp  are  for  sale  in  the 
Taberna. 

The  cases  exhibit  plates  of  the  "  Antichita  di  Ercolano,  "  (Antiqui- 
ties OF  Herculaneum),  a  rich  work,  nine  volumes,  folio  1757. 

A  very  complete  collection  of  notable  works  on  Pompeii  has  been 
obtained  for  authoritative  study  in  reproduction.  These  comprise  the 
works  of  Mazois,  Barre,  Cook  Sc  Donaldson,  Zahn,  Overbeck,  Breton, 
Lagreze,  Gell,  Steeger,  Preshun,  Roux  and  latest  and  richest,  the 
splendid  work  of  Nicollini.  From  these  authorities  have  been  taken 
plates,  as  models  for  decoration  of  the  Pompeia.    That  their  careful 


^  ILLUS' 

DIAGRM  OR  FLOOR  Pim 

THE    ftaOMS  SHOUCD  VISlT^EO  (B 


TOE  POMPEIA  HOUSE. 

J8S  m   WmC^B    THEY    ARE  NUMBEREO. 


10 


THE  POMPEIAN  HOUSE 


production  may  be  observed,  engravings  from  the  walls  of  Pompeii  and 
the  Museum  of  Naples  are  placed  upon  the  respective  walls  which  are 
their  imitation. 

Other  illustrations  of  the  period,  especially  interesting  to  the  student 
and  the  archaeologist,  are  the  coins  op  the  period  ;  the  ' '  Imperatorium 
Eomanorum  Numismata, "  1697 ;  fine  copies  of  Bartoli's  ' '  Eoman  Law,  " 
1478,  the  Natural  History  of  Pliny  the  elder,  (who  perished  at 
Pompeii),  1525,  Yitruvius,  Ferrerio,  Vauthierand  Lacour,  andDuchoul.* 

In  the  BiBLiOTHECA  are  also  plans  of  Pompeii  as  excavated ;  thirty 
five  REPLICA  of  busts  found  in  Herculaneum,  fac-similes  of  Graffitti 
caricatures,  etc. ,  on  the  walls  of  the  city,  etc. ,  etc. 

No.  14.    A  CuBicuLUM ;  richest  decoration  on  black  ground. 

No.  15,  Balxeum  or  bath-room.  The  wall  of  this  room  is  from  the 
unique  decoration  of  the  bath-room  in  Diomede's  villa  —  a  representa- 
tion of  deep  sea- water,  with  fishes  —  and  pomegranate  trees  on  the  side 
walls  in  full  bearing. 

No.  16.  The  winter  Triclinium  (dining-room),  named  from  the 
couches  surrounding  the  table,  as  Eomans  always  reclined  during 
meals.  The  size  of  the  couch  was  in  accordance  with  the  rule  that  the 
number  at  dinner  should  never  be  less  than  the  Grraces  (three),  or  more 
than  the  Muses  (nine),  excepting  of  course  in  larger  banquets.  Grand 
houses  had  two  Triclinia,  for  winter  or  summer  use,  but  the  ancients, 
were  much  addicted  to  the  pleasures  of  the  table,  and  called  frequently 
into  requisition  the  GEcus,  or  large  hall.  At  such  times  the  floor  was 
strewn  thickly  with  sawdust  stained  in  bright  colors,  and  at  one  end  of 
the  hall  slaves  danced  during  the  meal.  A  silver  hoop  suspended  above 
the  table  held  chaplets  of  flowers,  or  even  of  silver,  for  distribution 
among  the  guests.  Each  person  reclined  upon  his  side  with  his  elbow 
resting  upon  a  cushion. 

Over  the  wall  into  the  CEcus  is  placed  a  copy,  by  Zurcher,  of  Boulan- 
ger's  "Feast  of  Lucullus."  The  table  service  has  been  selected  care- 
fully in  classic  forms.    Notice  the  cupboards  in  perspective. 

No..  17.  Culina  (kitchen).  This  was  between  the  two  Triclinia,  and 
the  brick  stove  in  this  room  is  a  model  of  that  found  in  the  House  of 
Pansa.     When  the  cooks  took  flight  they  left  loaves  of  bread,  eggs, 

*As  will  be  naturally  concluded,  these  rare  books  are  not  intended  for  public  use  or 
handling. 


REPRODUCED  IN  SARATOGA 


11 


nuts  and  many  other  articles  of  food  which  are  found  in  a  fossilized 
state.  Spits  for  roasting  were  laid  across  the  embrasures  of  the  stone. 
The  bread  seen  is  modelled  from  those  excavated  after  their  long 
burial.  Chimneys  were  not  used,  charcoal  not  requiring  them. .  Note 
the  Calidarium,  or  portable  kitchen,  reproduced  especially  for  the 
Pompeia  with  other  bronzes  in  Naples.  The  wall-painting  frequently 
seen  in  the  kitchen  is  thus  described  by  Mazois : 

This  is  a  religious  painting  found  in  the  kitchen  of  the  House  of 
Pansa.  It  was  a  homage  offered  to  the  Gods,  LxVREs,  under  whose 
protection  they  placed  provisions.  At  the  center  is  represented  a  sacri- 
fice to  these  divinities,  recognizable  under  the  form  of  two  serpents. 
This  is  evidence  that  it  is  a  religious  and  consecrated  picture.  Birds,  a 
hare,  fish,  a  boar,  girded  for  sacrifice,  bread,  etc. ,  surround  the  princi- 
pal picture,  as  placed  under  protection  of  the  domestic  Gods. " 

The  two  birds  chasing  flies  are  emblems  of  the  genii  of  the  kitchen 
who  drive  away  these  pests  from  the  food. 

No.  18.  Summer  Triclinium.  Here  in  the  summer  the  Pompeian 
families  took  their  meals,  beneath  the  shade  of  trellised  grapevines  as 
screen  from  sun  rays.  The  reproduction  is  exact  from  one  remaining  in 
Pompeii ;  and  at  its  precise  distance  from  the  garden  walls.  The  panels 
are  painted  in  oil  from  originals  in  Herculaneum. 

No.  19.  The  Lararium,  or  household  temple,  has  above  it  a  sacrifi- 
cial picture  taken  from  the  temjDle  in  Herculaneum.  The  altar  within 
has  bas-reliefs  of  a  sacrificial  procession  of  the  gods  of  Olympus,  and 
others,  adjacent,  are  of  special  celebrity. 

No.  20.  The  Hortus  (garden),  with  walls  oil  painted  in  the  fantastic 
style  always  followed  in  their  outside  work.  The  first  in  order  repre- 
sents a  disciple  of  Bacchus  after  a  revel ;  the  second,  a  more  noble 
Eoman,  recumbent  in  thoughtful  mood;  and  adjoining  this  pair  is 
"  Orpheus  charming  the  animals  "  with  his  music. 

No.  21.  CEcus,  or  large  hall  was  an  innovation  borrowed  by  Pom- 
peians  from  the  Greeks.  It  was  used  for  a  banquet  hall.  The  propor- 
tions were  so  regulated  as  to  accommodate  two  Triclit^ia,  their  respec- 
tive couches  facing  each  other  with  space  for  servants  to  pass  between 
and  around  them. 

Cases  in  No.  21,  contain  specimens  of  variously  colored  lava  and 
pumice  stone  and  of  the  sulphur,  under  which  Pompeii  was  buried. 


12 


THE  POMPEIAN  HOUSE 


Also,  reproductions  of  the  bread,  nuts,  beans,  figs,  dates,  cherries;, 
of  censers,  theater  tickets,  sacrificial  plates  ( patera )  braziers,  perfume 
boxes,  fruit  dishes,  bas-reliefs  of  jewel  cases,  tear  bottles  (original 
Roman,  but  not  from  Pompeii.)  Drinking  horns,  hinges,  cooking 
dishes  and  kettles,  door  handles,  scale  weights,  etc. ,  etc. 

No.  22.  Cella,  — a  store-room.  The  walls  are  covered  w^ith  Eossini's 
views  of  Pompeia,  1820-1830.    They  show  trees  above  the  ruins. 

No.  23.    CuBicuLUM — showing  method  of  ventilation  through  ceiling. 

No.  24.  PiNACOTHECA  (picturc-room)  contains  oil  paintings  by  Pascal 
( above  alluded  to )  and  Zurcher.    Those  now  on  exhibition  are : 

Vesuvius  before  the  great  eruption,  and  Pompeii  with  an  ancient 
Gallery,  copied  from  a  picture  in  Herculaneum. 

Vesuvius  during  eruption. 

The  Forum  in  Pompeii  as  exhumed,  after  photographs  by  Pascal  in 
December,  1889,  upon  the  spot. 

A  sacrifice  before  the  Temple  of  Jupiter.  A  copy  of  Prof.  Fischetti's 
Restoration  in  Pompeii  "Past  and  Present." 

No.  25.  The  Exedra,  or  conversation  room,  is  supposed  to  supply 
the  place  of  the  modern  drawing  room,  though  the  Peristyle  rivalled 
it  in  attractions.  Here,  however,  were  placed  some  of  the  choicest  of 
the  adornments  ot  a  rich  Pompeian  house.  These  are  illustrated  by  a 
copy  of  one  of  the  most  superb  vases  of  antiquity,  found  on  the  site  of 
the  Villa  Antoninus  Pius,  and  a  cast  of  "  Europa  and  the  Bull."  The 
ceiling,  as  also  that  of  the  (Ecus,  is  from  the  baths  of  Titus. 

No.  26.    Ala,  another  recessed  waiting  alcove  in  Atrium. 

Nos.  27,  28.  CuBicuLA,  containing  articles  reproduced  from  originals. 

A  case  in  No.  27,  contains  very  interesting  reproductions  of  musical 
instruments  —  the  sistnmi  and  flute,  keys  and  tear  bottles,  (genuine 
Roman)  bread,  the  foot  lamp,  the  slave's  collar,  marked  "I  am  a 
slave ;  stop  me,  I  am  running  away, "  of  rich  dishes,  etc. ,  etc. 

No.  29.    The  Vestiarium,  for  garments ;  the  toga,  pallia,  etc. 

No.  30.    Cella-ostiari  or  Porter's  Room. 

The  Solarium  (sun  terrace).  Generally  the  house  consisted  of  but 
one  story,  but  in  some  were  extra  sleeping-rooms  over  a  part  of  the 
structure,  as  is  shown  by  remaining  staircases.  The  Solarium  was 
thus  left  on  the  roof  of  the  front  part  of  the  building,  and  was  the  most 
delightful  portion  of  the  house.    Shaded  by  vines  from  the  street,  and. 


REPRODUCED  IN  SARATOGA 


13 


ornamented  with  growing  flowers,  it  was  the  resort  in  warm  evenings 
for  air,  and  in  cooler  weather  for  "smi  baths."  Caryatides  support 
the  trellises,  and  vases  alternate  with  them,  holding  vines  which  grow 
in  trained  festoons  around  the  roof  garden. 

In  concluding  this  sketch  of  the  most  elaborate  reproduction  of  a 
Roman  house  of  the  first  century  of  the  Christian  era,  as  yet  attempted, 
it  may  not  be  presuming  to  suggest  that  therein  is  a  field  for  instruc- 
tion, far  beyond  novelty  and  entertainment.  Students  of  history  may 
here  find  dry  descriptions  illuminated  by  color  and  object.  With  an 
entirety  of  the  surroundings  in  Roman  domestic  life,  painted  by  the 
eye  upon  the  retina  of  the  brain,  the  lives  of  Plutarch  and  other 
-classics  will  take  more  vivid  interest. 

THE  ART  GALLERY  AND  THE  LONG  GALLERY, 

(130  Feet),  for  Illustrations  of  History,  Art  and  Architecture,  Are 
Annexes  to  the  Pompeian  House. 

They  have  no  relation  to  the  House  of  Pansa,  as  the  re-construction 
of  a  ruined  house  of  Pompeii.    Their  architecture  is  modern. 

The  great  stimulus  to  inquiry  concerning  Roman  Architecture,  of 
visitors  to  the  Pompeia  has  decided  the  prox^rietor  to  add 

A  Grand  Painting  of  Rome,  in  the  Time  of  Constantine, 

as  a  separate  Exhibition  in  the  Art  Gallery  at  the  rear  of  the  Pompeian 
House.  It  measures  fifty  (50)  feet  in  length  by  seven  (7)  feet  high.  The 
central  section  is  by  the  eminent  German  painters,  Peter,  architectural 
painter ;  Bieberstein,  foliage,  and  Gschmeidler,  landscape  artist.  The 
end  sections  are  by  Pascal,  of  Paris.  The  original  was  executed  by 
Prof.  Buhlmann,  architectural  archa3ologist,  and  Prof.  Wagner,  artist, 
of  Munich ;  the  result  of  years  of  that  exhaustive  study  and  research 
characteristic  of  the  scholars  of  Germany. 

The  work  is  in  beautiful  harmony  of  colors :  a  glimpse  of  old  Rome  as 
it  was  in  a  bright  and  sunny  day  in  the  time  of  the  first  Christian 
Emperor.  The  amount  of  labor  spent  in  collecting  material  for  so 
grand  an  undertaking  can  hardly  be  imagined.  Only  a  m  ore  detailed 
study  of  the  buildings,  such  as  temples,  triumphal  arches,  theatres, 


14 


THE   POMPEIAN  HOUSE 


circus  buildings,  etc.,  ruins  of  some  of  which  remain,  will  reveal  what 
diligence  was  applied  to  their  design  and  arrangement. 

The  painting  is  panoramic,  covering  the  horizon. 

The  point  of  observation  is  the  ARX,  an  elevation  on  the  southerly 
summit  of  the  Capitoline  Hill.  By  study  of  the  key,  prepared  by  the 
authors  of  the  topographical  details,  all  the  interesting  historical  struc- 
tures depicted  Avill  be  recognized.  Beginning  at  the  left  is  the  Forum, 
the  Albanian  Mountains  in  the  distance; — at  the  farthest  on  the  left. 
The  Coliseum,  and  the  Arch  of  Titus. 

See  EncycloiDedia  in  reference  to  the  slabs  therein  at  this  day, 
sculptured  with  the  sacrificial  implements  of  the  Temple  of  Jerusalem, 
which  Titus  carried  in  his  triumphal  procession. 

At  the  lower  angle  of  the  left,  arched  entrances  to  the  Mamertine 
Prison — the  traditional  prison  of  the  Apostles  Peter  and  Paul. 

Along  the  Forum  the  Temple  and  House,  of  the  Vestal  Virgins; 
Rostra  Column  ;  Basilica  of  Julius  C^sar  ;  Temple  of  Janus  ;  Temple 
of  Concord. 

Above  on  the  heights  of  the  Palatine  Hill  the  Palaces  of  the  Caesars, 
remains  most  interesting,  are  now  being  constantly  exhumed.  In  the 
foreground,  the  Tabularium, — or  House  of  Records. 

Notice  the  triumphal  procession  moving  down  the  Forum.  Cohorts 
with  chariots  of  spoils,  in  the  rear  of  Constantme,  who  has  left  his 
chariot  and  has  ascended  the  steps  of  the  Temple  of  the  Oapitolian 
Jupiter.  On  the  staircase  the  Senate  is  ranged  to  salute  him.  Sacred 
fires  burn  in  the  candelabra.  The  emperor  is  in  red  or  scarlet,  the 
purple  of  the  ancients. 

The  housetops  are  covered  with  spectators  —  on  the  steps  of  the 
Tabularium  are  painted  screens  of  Byzantine  personages  in  recognition 
of  Constantine's  victories  and  Empire  of  the  East. 

The  standard  of  the  Labarum  is  carried  with  the  sign  of  the  cross  he 
saw  in  vision — "By  this  you  conquer." 

Prisoners  yoked  together  head  the  procession.  Musicians  and 
trumpeters  have  wheeled  to  the  right  to  salute  the  Conqueror.  Priests 
line  the  circuit  of  the  court.    Rostra  columns  wall  the  temple  area. 

Oriental  costumes  illustrate  the  extent  of  the  Roman  domain. 

The  Horses  of  Lysippus  crown  the  Temple.  Groups  of  Statuary  are 
between  the  columns.    Notice  the  Laocoon  between  the  second  and 


REPRODUCED  IN  SARATOGA  15 

third  column  from  the  right.  Turning  to  the  right  are  seen  the 
Theatres  of  Balbus  and  Marcellus  and  the  vast  Circus  Flaminius  with 
seats  for  200,000  spectators. 

The  temple  of  ^sculapius  is  apparently  on  a  galley :  an  island  in  the 
Tower  being  walled  up  in  that  form  with  its  prow.  Above  is  the  Mons 
Janiculum ;  highest  of  the  seven  hills  of  Rome. 

In  the  foreground  is  the  demolition  of  the  statute  of  Maxentius,  the 
defeated.  Beyond,  the  Baths  of  Agrippa  and  Pompey.  Continuing  to 
the  right,  in  the  distance,  the  site  of  St.  Peter's  and  the  Vatican, 
the  round  pyramidal  Tomb  of  Hadrian,  now  the  castle  of 
St.  Angelo;  and  the  Pantheon — ;  "Pride  of  Rome,"  "Shrine  of  all 
Saints, "  "  Temple  of  all  Gods  ! " 

Still  to  the  right  the  Tomb  of  Augustus;  The  Column  of  Marcus 
Aurelius,  remaining  to  this  day  on  the  Corso  (ancient,  via  lata)  and  the 
Temple  of  Juno  Moneta, — adjacent  is  the  Temple  of  Trajan  which 
adjoined  the  Forum  with  the  Column  of  Trajan. 

Notice  the  polychrome  decoration  of  the  facade  of  the  temple;  it 
being  now  decided  that  the  Greeks  colored  their  temples  and  tinted 
their  statuary. — The  Sina  Academy,  in  Athens  is  thus  decorated. 
1^  Returning  to  the  composition  of  this  painting,  it  may  be  of  interest 
to  remind  that  many  fragments  of  ancient  plans  of  Rome,  engraved  on 
marble  slabs,  have  been  found.  They  are  walled  in  the  stairway  of  the 
Capitoline  Museum.  Besides  these  plans,  the  constructors  had  the 
descriptions  of  ancient  writers.  Material  for  the  reconstruction  of 
temples,  pillars  and  other  monuments  is  found  upon  the  vase  paintings, 
seal  rings,  cameos,  coins  and  so  forth,  so  that  the  general  appearance  of 
Rome,  as  it  is  here  compiled,  must  be  taken  as  approximately  correct. 
It  is  therefore  exceedingly  interesting  for  the  student. 

Reference  to  histories  or  encyclopedias  as  to  the  magnificence,  and 
luxury  of  Rome,  at  and  subsequent  to  the  Augustan  Age,  will  be  im- 
pressive, after  study  of  the  learned  restoration. 

Jn  the  Art  Gallery  are  also  restorations  of  the  Roman  Forum,  by 
Cockerell  and  Canina :  the  rare  and  magnificent  series  of  the  Loggia  of 
Raphael,  published  by  Popes  Clement  XIII.  and  XIV.— 1774— 1776— 
covering  nearly  200  square  feet  of  copperplate  engraving ;  encyclopedic 
in  details,  that  are  historically  stated  to  have  been  drawn  from  the 
Ruins  of  the  Baths  of  Titus  ;-and  other  valuable  engravings. 


16 


THE  POMPEIAN  HOUSE 


Also  models  on  a  small  scale  of  historic  structures  and  ruins :  Holy- 
rood  Castle ;  the  Campanile  of  Giotto  at  Florence ;  the  Banquet  Hall  of 
Kenilworth ;  Porta  Maggiore,  Rome ;  Mickeigate  Bar,  York ;  Jerusalem 
in  the  time  of  Christ,  and  a  powerful  plate  of  the  destruction  of  Jeru- 
salem by  Titus — a  portion  of  the  city  of  Wittenberg,  etc.,  etc. 

A  Design  for  a  National  Gallery  of  History  and  Art  at  Washington. 

In  the  Art  Gallery  is  placed  the  grand  drawing  of  the  Design  above 
mentioned,  by  Franklin  W.  Smith  and  James  Renwick.  The  novel 
and  it  is  believed,  most  valuable  educational  provisions  of  this  design, 
are  galleries  for  paintings,  casts,  models,  etc.,  enclosing  parks,  for  con- 
structions of  the  great  historic  nationalities — Egypt,  Greek,  Roman, 
Byzantine,  Saracenic,  Mediaeval,  Renaissance  and  East  Indian. 

Thus,  as  a  Roman  house  has  been  accurately  and  fully  restored  in 
the  Pompeia,  so  there  will  in  the  Egyptian  Court,  a  reconstruction  of 
an  Egyptian  Palace  (the  Pavilion  of  Medinet-Abou)  and  the  Central 
Court  of  the  Ramesseum ;  these  to  be  entered  beneath  the  cyclopean 
pylon  at  the  Gates  of  Thebes.  Visitors  are  cordially  invited  to  study 
this  drawing,  for  interest  in  the  enterprise. 

A  painting  of  the  Roman  Court  contains  a  Roman  house,  a  Temple, 
a  column  of  Trajan;  a  Columbarium;  a  Tomb;  a  Gateway,  a  replica  of 
a  portion  of  the  Catacombs,  a  Rostrum,  etc.,  etc. 

Another  of  the  Saracenic  Court  exhibits  a  portion  of  the  Alhambra ; 
of  the  Mosque  of  Cordova ;  the  Puerto  del  Sol  of  Toledo,  etc. 

Three  large  paintings  show  an  Egyptian  Pylon  in  the  portal  of  the 
Egyptian  Court,  a  colonnade  of  Lotus  Columns,  and  the  Pavilion  of 
Medinet  Abou  —  restored  by  Perrot  and  Chipiez  of  Paris. 

The  Design  and  Prospectus  for  the  National  Gallery,  hy  Franklin  W. 
Smith,  105j9p.,  quarto,  146  illustrations,  is  for  sale  i7i  the  Taberna;  that  its 
circulatio7i  may  aid  the  promotion  of  the  enterprise. 


c? 


THE  GRANDEUR  OF  ROME 


3  3125  00085  4519 


